{"title":"Label - Impulse!","description":"","products":[{"product_id":"sons-of-kemet-your-queen-is-a-reptile","title":"Sons of Kemet – Your Queen Is A Reptile","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWith sleeve notes declaring \"Your Queen is not our Queen \/ She does not see us as human\" - British jazz outfit Sons of Kemet were out to make a statement with their third record, and in doing so they crafted one of the most powerful pieces of jazz in the 21st century. Released in 2018 on Impulse!, \u003cem\u003eYour Queen Is A Reptile\u003c\/em\u003e rejects the racism and xenophobia of England’s monarchy by honouring black women who’ve made their mark on history.\u003c\/p\u003e\n\u003cp\u003e Much like how the opening track \"My Queen Is Ada Eastman\" salutes bandleader Shabaka Hutchings' Barbadian great grandmother, others memorialise figures such as Harriet Tubman, Nanny of the Maroons, and Yaa Asantewaa, among others. Led by Hutchings’ fiery saxophone, this album is a celebration of Black revolutionaries that blends Afrobeat, calypso, grime and reggae into an avant-garde jazz carnival. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYour Queen Is a Reptile\u003c\/em\u003e signals the arrival of Caribbean-born, London-based saxophonist\/clarinetist Shabaka Hutchings' Sons of Kemet on Impulse! The band's unusual lineup - saxophone\/clarinet, tuba, and two or three drummers - fits with the historic label's revolutionary tradition forged by John and Alice Coltrane, Pharoah Sanders, etc. Hutchings is no mere descendent of his heroes, however. He's amassed dozens of musical credits (including work with Mulatu Astatke and Yusef Kamaal) and leads three different bands: Sons of Kemet, Shabaka and the Ancestors, and the electro space-jazz outfit Comet Is Coming.\u003c\/p\u003e\n\u003cp\u003eThis is Sons of Kemet's third album. Its title refers to the white patriarchy as made manifest in royal and political matriarchies (the queen and Theresa May), and their unrepentant racism toward immigrants. The nine tracks pay homage to iconic Black women from Angela Davis and Harriet Tubman to social psychologist Mamie Phipps Clarke and Hutchings' own great-grandmother, Ada Eastman. Despite the charged nature of the concept, these sounds are not easily categorized as \"angry.\" In fact, if one knew nothing about the motivation here, they would swear the music reflects only Black celebration and joy.\u003c\/p\u003e\n\u003cp\u003eHerein lies the terrain where the carnival tradition of the Caribbean stretches west and north simultaneously to New Orleans' marching bands and South London's adventurous, well-integrated contemporary music scene; it's where modern avant-jazz meets funk, folk tradition, grime (thanks to two raps by poet Joshua Idehen), and reggae (courtesy of toaster Congo Natty). \"My Queen Is Ada Eastman\" opens with rolling double-drum kits (Tom Skinner and Seb Rochford - the latter alternates with or complements Eddie Hick and Moses Boyd) - while Theon Cross' tuba establishes a hypnotic bassline and Hutchings weaves a labyrinthine, almost snaky melody. \u003c\/p\u003e\n\u003cp\u003eThey dig deep into reggae with \"My Queen Is Mamie Phipps Clarke,\" as Natty delivers a Rasta poem with Hutchings' tenor winding around him amid stretched-out dub effects. \"My Queen Is Angela Davis\" equates, knotty, martial, yet funky rhythms as Cross and Hutchings exchange a contrapuntal lyric line that touches on carnival music and Arabic double-harmonic scales. While \"My Queen Is Nanny of the Maroons,\" titled for the famed Jamaican anti-colonialist, uses a hypnotic Nyabinghi rhythm, the tuba lays down a rocksteady bassline and Hutchings breathes out a gentle modal ballad.\u003c\/p\u003e\n\u003cp\u003eNubya Garcia adds a second saxophone to \"My Queen Is Yaa Asantewaa\" amid incantatory Ghanaian-style drumming and a declarative tuba. On \"My Queen Is Albertina Sisulu,\" the drumming and stretched harmony delineate where South African township jive meets avant-jazz (and traces a direct line from Brotherhood of Breath). Hip-hop, funk, and Fela all meet in closer \"My Queen Is Doreen Lawrence\" (titled for the British Jamaican campaigner), with punchy tenor lines, roiling snares, and kick drums with bleating below-the-floor bass notes. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYour Queen Is a Reptile\u003c\/em\u003e is easily Sons of Kemet's most compelling outing. It offers inspired stylistic contrasts, canny improvisation, and killer charts. It's tight, furious, joyous, and inspirational. — (via Thom Jurek \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/your-queen-is-a-reptile-mw0003139532\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/6zpSJemfxQFHKVVqMDNW9J\" allowtransparency=\"true\" allow=\"encrypted-media\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse! ‎\u003cbr\u003eFormat: 2 × Vinyl, LP, Album\u003cbr\u003eReleased: 2018\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Afrobeat, Free Improvisation, Avant-garde Jazz, Modern\/Future Jazz \u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz \/\/ Modern\/Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456570925214,"sku":"602567364320","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/1846a61c61b7730148c0da950c82b4ed25844980.jpg?v=1646292377"},{"product_id":"gaborszabothesorcerer","title":"Gabor Szabo ‎– The Sorcerer (Verve By Request Reissue)","description":"\u003cp\u003eThis 1967 set, recorded live at Boston’s Jazz Workshop, showcases virtuoso guitarist Szabó—a veteran of Chico Hamilton’s and Charles Lloyd’s bands—at the top of his game on a diverse program featuring standards (“What Is This Thing Called Love”) and pop hits (“The Beat Goes On”) as well as the original and psychedelic-tinged jam, “Space.” — (via \u003ca href=\"https:\/\/store.ververecords.com\/products\/gabor-szabo-the-sorcerer-lp-verve-by-request-series?srsltid=AfmBOoo0Xuve76pW8genCEbgrWa56lOk6ofLIfKO2etPsWsqGnTR_qhf\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eGabor Szabo's quintet featuring Jimmy Stewart was one of the guitarist's very best units. Live performances like this, recorded at Boston's Jazz Workshop, document some of the excitement the group stirred in 1967-1968.\u003c\/p\u003e\n\u003cp\u003eThe playing seems inspired, and the interplay within the group is something to behold -- even when performing lightweight tunes like \"The Beat Goes On.\" — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-sorcerer-mw0000654967\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/4dS4LflzNdWVbk3tYDdQfn\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Verve Records, Impulse!, UMe \u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, Gatefold, 180g\u003cbr\u003eReissued: 2023 \/ Original: 1967\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Soul-Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Soul-Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":41456653205662,"sku":"602448991072","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/verlp99107__52979.jpg?v=1686051727"},{"product_id":"johncoltrane-alovesupremeacousticsoundsseries","title":"John Coltrane - A Love Supreme (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe defining album of legendary American jazz saxophonist John Coltrane’s storied career,\u003cem\u003e A Love Supreme\u003c\/em\u003e emerged as a prayerful paragon that was beyond reproach. Structured as a through-composed suite in four parts and delivered in praise of God - this modal, post-bop masterpiece was the sound of Coltrane’s spiritual awakening, existing in an exalted plane that few (if any) albums made before or since have been able to touch.\u003c\/p\u003e\n\u003cp\u003eRecorded with Coltrane’s classic quartet - Elvin Jones, McCoy Tyner and Jimmy Garrison - A Love Supreme was not just technically experimental, it was emotionally and conceptually ambitious. From \"Acknowledgement\" to “Psalm”, Coltrane eloquently translated his personal journey from darkness to enlightenment through his chosen medium of free jazz. The result was a magnum opus of divine proportions. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eOne of the most important records ever made, John Coltrane's \u003cem\u003eA Love Supreme\u003c\/em\u003e was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. \u003c\/p\u003e\n\u003cp\u003eRecorded over two days in December 1964, Trane's classic quartet - Elvin Jones, McCoy Tyner, and Jimmy Garrison - stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. \u003c\/p\u003e\n\u003cp\u003e\"Acknowledgement\" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. \"Resolution\" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. \"Pursuance\" searches deeply for that experience, while \"Psalm\" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. \u003cem\u003eA Love Supreme\u003c\/em\u003e not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. \u003c\/p\u003e\n\u003cp\u003eClocking in at 33 minutes; \u003cem\u003eA Love Supreme\u003c\/em\u003e conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/a-love-supreme-mw0000187827\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis widely regarded as one of the greatest jazz albums of all time. Released in 1965, the album features Coltrane's quartet at the height of their creative powers, and is a testament to the saxophonist's spiritual and musical vision. The album is divided into four parts, each representing a different aspect of Coltrane's personal journey towards spiritual enlightenment.\u003c\/p\u003e\n\u003cp\u003eThe opening track, \"Acknowledgement,\" is a meditative piece that features Coltrane's iconic \"A Love Supreme\" chant. This is followed by \"Resolution,\" a high-energy piece that showcases Coltrane's virtuosic saxophone playing.\u003c\/p\u003e\n\u003cp\u003eThe third track, \"Pursuance,\" is a dynamic, fast-paced tune with intricate solos by each member of the quartet. The album concludes with \"Psalm,\" a reflective, hymn-like piece that features Coltrane's saxophone playing in a more subdued, spiritual mode. Throughout the album, Coltrane's playing is characterized by his signature \"sheets of sound\" technique, in which he plays rapid, complex runs of notes that seem to cascade and flow endlessly. The quartet's interplay is also exceptional, with each member contributing to the album's overall sense of improvisational freedom and musical unity. Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison together created one of the most thought-provoking albums of their relationship.\u003c\/p\u003e\n\u003cp\u003eLyrically, the album explores themes of spirituality, redemption, and the search for meaning in a chaotic world. The music is delivered with an intensity and sincerity that is palpable, making it a deeply moving and powerful listening experience. Overall,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a landmark album that showcases Coltrane's unparalleled musicianship and profound spiritual insight. It's a must-listen for jazz enthusiasts and anyone who appreciates music that speaks to the soul. — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7Eoz7hJvaX1eFkbpQxC5PA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records, UMe\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Repress, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2021 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Post Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":41456709697694,"sku":"602508889288","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/A1LfosEqwcL._UF1000_1000_QL80.jpg?v=1709895672"},{"product_id":"johncoltranequartetballads","title":"John Coltrane Quartet ‎– Ballads (Acoustic Sounds Series)","description":"\u003cp\u003eJohn Coltrane's immortal Impulse! records, \u003cem\u003eA Love Supreme\u003c\/em\u003e (1964) and \u003cem\u003eBallads\u003c\/em\u003e (1963) both have drawn rave reviews since their original release. A.B. Spellman, former administrator for the National Endowment for the Arts, once described Ballads as \"some of the most sensitive, heartfelt music that any lover ever sang on a horn.\" Put simply, most guys don't play the saxophone like John Coltrane.\u003c\/p\u003e\n\u003cp\u003eThe intense passionate Coltrane interpretation of standards such as \"All Or Nothing At All,\" \"What's New,\" \"It's Easy To Remember\" and the Sinatra classic \"Nancy (With The Laughing Face)\" are the essence of \u003cem\u003eBallads\u003c\/em\u003e. When asked why attempt such an undertaking, Coltrane replied \"Variety.\" While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.\u003c\/p\u003e\n\u003cp\u003eSeeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2fdnSzyVkyG5R0VJgo9Gv5?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2020 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Modal, Cool Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456746234014,"sku":"602508889301","price":75.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71_ZhpWip5L.jpg?v=1741152223"},{"product_id":"mingus-the-black-saint-and-the-sinner-lady-acoustic-sounds-series","title":"Mingus  – The Black Saint And The Sinner Lady (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eRecorded in a single immortal session, this 1963 tour de force became one of Charles Mingus’ most towering achievements. Consisting of a single continuous composition, divided into four tracks and six movements - the American double bass doyen, alongside his 11-piece band, crafted a complex aural exploration of his own tortured psyche. This album is a structurally adventurous and hauntingly eloquent song suite, a multi-layered swirl of emotion manipulated through a rumbling swarm of saxes, flamenco guitar lines and expressive upper woodwinds. The Black Saint And The Sinner Lady’s balletic struggle between rage and suffering is without a doubt one of the most awe-inspiring and fiercely avant garde compositional manoeuvres in jazz history.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"100%\" height=\"420\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6Sts4Yh7KsDFwq2yTWrGGV?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/u\u003e↓\u003cbr\u003eLabel: Impulse! , Verve Records, UMe – B0033602-01\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold\u003cbr\u003eCountry: Worldwide\u003cbr\u003eReissued: Nov 19, 2021 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cu\u003e\u003c\/u\u003e\u003cu\u003e\u003cspan style=\"color: #000000;\"\u003e\u003c\/span\u003e \u003c\/u\u003e\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456793288862,"sku":"602435862156","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Black-Saint-and-the-Saint.jpg?v=1646297418"},{"product_id":"alice-coltrane-kirtan-turiya-sings","title":"Alice Coltrane – Kirtan: Turiya Sings","description":"\u003cp\u003eAfter releasing the wondrous Transfiguration in 1978, documenting a live concert with drummer Roy Haynes and bassist Reggie Workman, Alice Coltrane retreated from public life to serve as swamini in an ashram she founded in Agoura Hills, California. Though she resurfaced briefly at John Coltrane tribute concerts during the 1990s and released a final album, Translinear Light, in 2004, it was widely thought she had abandoned music for over two decades. However, during that time, she was playing alone and with others for Sunday \"kirtans\" (services), and she occasionally recorded devotional chants for her followers. In 2017, Luaka Bop released The Ecstatic Music of Alice Coltrane Turiyasangitananda; its music was compiled from four privately pressed (and professionally recorded) cassettes. The first of these was 1982's Turiya Sings, and marked the first recording of her singing voice, accompanied by organ, strings, synths, and in places, minimal sound effects. Commercially unavailable, it has been streaming on YouTube for years. Kirtan: Turiya Sings, issued by Impulse!, presents that album in a startling new context. This rare mix -- unheard even by Ravi Coltrane until he was producing Translinear Light -- presents Alice's prayerful rendition of nine traditional Hindu chants called \"bhajans,\" offered with only her Wurlitzer organ in support.\u003c\/p\u003e\n\u003cp\u003e---\u003c\/p\u003e\n\u003cp\u003eFrom the opening moments of \"Jagadishwar,\" Coltrane's dignified worship songs seemingly transcend time. They abundantly reflect an earlier period in her own life when she was still in Detroit playing organ in church for gospel choirs and congregations during the early 1950s. That said, they also wed the millennia-old Hindu prayers to the 20th century African American Church and the blues Rev. Thomas A. Dorsey used in reframing gospel music. A striking example here is \"Krishna Krishna\"; it drones along a skeletal chord progression as Coltrane's instrumental pulse underscores her subdued, vulnerable, almost unbearably tender chant and suggests a country blues. \"Rama Katha\" adds depth to that impression while being presented in a slightly more dramatic fashion with a taut delivery. Coltrane's jazz training can't resist slipping in unusual chord voicings amid the Wurlitzer's droning growl -- check out \"Hara Siva,\" where she pairs fleeting elliptical ghost traces of chords under an open-throated, deep blue groan that simultaneously reflects yearning and transcendence. Closer \"Prandhana\" offers seemingly syncopated organ play as chords melt together, transforming them into new utterances. The Wurlitzer hums, rife with airy pedal action as her voice wavers around the resultant overtones. Kirtan: Turiya Sings is more subdued than the original (perhaps they should have been packaged together), but because of the power in Coltrane's singing, it is also deeper emotionally. Rather than a recording designed to project music for a congregation to respond to collectively, it resonates with the personal primacy of private devotional prayer. In sum, it doesn't displace or replace the original, but adds immeasurably to its meaning and dimension. - All Music\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/4tAK7NuAunKHYEiof5ikyG\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Impulse! – B0033706-01, UMe – B0033706-01\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: 2 x Vinyl, LP, Reissue\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: US\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 16 Jul 2021\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Spiritual\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41456793845918,"sku":"602435939766","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/f2d1a18f41904ffae7d0184608cf66650ac412cd.jpg?v=1646297445"},{"product_id":"john-coltrane-and-johnny-hartman-self-titled-acoustic-sounds-series","title":"John Coltrane and Johnny Hartman – S\/T (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA seminal 1963 collaboration between the sublime tenor saxophone of the legendary John Coltrane and the smoky-hued baritone of Johnny Hartman's voice. Recorded at Rudy Van Gelder’s Englewood Cliffs studio in New Jersey alongside pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones - Hartman and Coltrane proceeded to craft one of the lushest and most poignant ballad albums ever to grace the American jazz cannon.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eFeaturing six subtle yet vividly dramatised renditions of classics such as “My One and Only Love” and “Lush Life”, this dreamy and romantic 31-minute collection is a prized jewel on Impulse! Records’ impressive catalogue. A superb album of lyrical beauty and sophisticated melodies that continues to leave an indelible mark over a half century later.  — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe Sublime Sophistication Of John Coltrane And Johnny Hartman: the duo made a lush, poignant album that remains a high point in both artists’ careers.\u003c\/p\u003e\n\u003cp\u003eOn March 7, 1963, John Coltrane made one of his most lush and poignant albums, it was one on which he shared center stage, not with another instrumentalist but unusually with a singer. The singer was 40-year-old Johnny Hartman whose debut recording was Songs from the Heart, recorded with a quintet for Bethlehem Records released in 1955. When they arrived at the studio they had no charts, no prior arrangements worked out, this recording of John Coltrane and Johnny Hartman was without a net, but then again all the musicians knew these songs by heart.\u003c\/p\u003e\n\u003cp\u003eThe record the two of them made together was released on the impulse! label later in the year and it stands as one of the finest records by Coltrane, a record of lyrical beauty that is simply one of the greatest albums in the jazz canon. Johnny Hartman’s baritone voice blends perfectly with Coltrane’s tenor sax that is the vocal extension of the saxophonist’s earlier Ballad’s album. “Lush Life,” was a last minute addition to the album, after they heard Nat King Cole’s version on the way to the studio. It’s a song that says everything about this pairing.\u003c\/p\u003e\n\u003cp\u003eJoining Coltrane and Hartman at Rudy Van Gelder’s Englewood Cliffs studio in New Jersey that day are, pianist, McCoy Tyner, Jimmy Garrison on bass and drummer, Elvin Jones. From the opening bars of “They Say It’s Wonderful” that features Tyner tripping over the black and whites you know that this is a special record. When Hartman sings it’s confirmed. But it’s the sheer poetry of Coltrane’s tenor saxophone that joins Hartman in what is more akin to a duet than an accompaniment that lifts this from outstanding to beyond compare. A little over two minutes into the opening number Coltrane fires off a solo of sheer perfection.\u003c\/p\u003e\n\u003cp\u003eAll of the songs, as you would expect, are covers and besides the two numbers already mentioned there’s “Dedicated To You,” “My One and Only Love” – one of the other standout numbers – “You Are Too Beautiful” and “Autumn Serenade.” According to Hartman, the album’s songs were all done in one take, with the exception of “You Are Too Beautiful” which required a second run-through after Elvin Jones dropped one of his brushes. \u003c\/p\u003e\n\u003cp\u003eGiven the brilliance of this record, it’s surprising to learn that Hartman was not initially very enamored with the idea. When producer Bob Thiele approached him suggesting the album, a suggestion that came from Coltrane, the singer was hesitant. Hartman did not consider himself a jazz singer and did not think he and Coltrane would complement one another musically. Hartman went to see Coltrane perform at Birdland and, after the show, the two of them, along with Tyner, went over a few numbers and it just clicked.\u003c\/p\u003e\n\u003cp\u003eIt’s 31 minutes of sublime and sophisticated jazz that everyone should hear, and better yet, own. — (via \u003ca href=\"update\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of \"Lush Life\" and \"My One and Only Love\" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections. — (via Scott Yanow \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/john-coltrane-and-johnny-hartman-mw0000263500\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5e3mq4TT4RLn4VXfgKV6MU?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records, UMe\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 g, Gatefold\u003cbr\u003eReissued: 2022 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz, Pop\u003cbr\u003eStyle: Hard Bop, Vocal\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz Vocals (Audiophile)\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":41674283286686,"sku":"602438089536","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/51u7zQpQA4L._UF1000_1000_QL80.jpg?v=1709885533"},{"product_id":"pharoah-sanders-karma","title":"Pharoah Sanders - Karma","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePharoah Sanders brought spiritual jazz into full bloom with \u003cem\u003eKarma\u003c\/em\u003e, originally released in 1969 on Impulse!. The side-long opener “The Creator Has a Master Plan,” featuring Leon Thomas’s yodel-infused vocals and Sanders’s searching tenor, channels transcendence through repetition and gradual build. Its balance of ecstatic release and meditative calm became a cornerstone of the spiritual jazz aesthetic. The shorter “Colors” closes the album with hushed lyricism, a gentle counterpoint to the cosmic sprawl of side one. Building on Coltrane’s legacy yet distinctly his own, Sanders turned intensity into uplift. \u003cem\u003eKarma\u003c\/em\u003e remains one of the most revered works in the spiritual jazz canon. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003ePharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on\u003cstrong\u003e \u003c\/strong\u003e\u003cem\u003eKarma\u003c\/em\u003e, the 32-plus minute \"The Creator Has a Master Plan\" and the five-and-a-half-minute \"Colours.\" The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion.\u003c\/p\u003e\n\u003cp\u003e\"Creator\" begins with a quote from \"A Love Supreme,\" with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that \"Colours,\" with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it. — (via Thom Jurek \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/karma-mw0000200235\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eReleased in May of 1969, \u003cem\u003eKarma\u003c\/em\u003e was the famed tenor saxophonist's third Impulse! Records album and is now seen as a milestone of the Spiritual Jazz movement. A natural progression in the sonic exploration that Sanders, along with John Coltrane and Alice Coltrane, had spearheaded throughout the previous five years, the album features two tracks, the 32-minute-long \"The Creator Has A Master Plan,\" and \"Colors.\" Filling the entire A-Side of the LP, \"Creator,\" co-composed by Sanders with vocalist Leon Thomas, is as close as Spiritual Jazz comes to having its own anthem. Meanwhile, the lone B-side track, \"Colors,\" is no less transfixing.\u003c\/p\u003e\n\u003cp\u003eThis reissue honors the late jazz legend who passed away in September at the age of 81 and concludes the series for 2022. The nearly two dozen releases from the series to date feature many of the timeless, classic albums from the Verve Label Group's stable of labels including Decca, EmArcy, Impulse! Records, Philips Records and Verve.  — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003ciframe width=\"100%\" height=\"380\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/04sSPjO9MQFQ6fG4lpBI3G?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel:    Impulse!, Verve Records, Acoustic Sounds \u003cbr\u003eSeries:    Acoustic Sounds Series\u003cbr\u003eFormat:    Vinyl, LP, Album, Reissue, Remastered, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2022 \/ Original release: 1969\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Modal, Post Bop, Avant-garde Jazz, Free Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening \/\/ Jazz\u003cbr\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42334867095710,"sku":"602445710898","price":65.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Pharoah-Sanders.jpg?v=1672906651"},{"product_id":"john-coltrane-with-eric-dolphy-evenings-at-the-village-gate-mono","title":"John Coltrane With Eric Dolphy – Evenings At The Village Gate (Mono)","description":"\u003cp\u003e—\u003cstrong\u003e \u003c\/strong\u003eA previously unknown recording, discovered by chance in 2017, captures the saxophonist testing the limits of his sound in the summer of 1961. It’s a snapshot of a pivotal moment in jazz’s evolution. —\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane began the decade in which he became immortal in typically audacious style. He quit the biggest jazz band in the world, led by Miles Davis, at arguably the peak of their fame. His early-’60s classics Giant Steps and “Live” at the Village Vanguard planted seeds for free and spiritual jazz, which flowered into teeming subgenres. Before he lost his fight with liver cancer at age 40, Coltrane released definitive albums in both modes, but they were hardly end points for an artist who often seemed to embody flux itself. He went from playing changes to reinventing them. His constant transformations illustrated a quintessential ’60s metaphor: Coltrane’s music rolled along too hard and fast to gather any moss.\u003c\/p\u003e\n\u003cp\u003eIn 1961, it picked up speed. A year before his vaunted classic quartet took shape, Coltrane assembled a band and then replaced individual members—not because their contributions were lacking, but because each iteration told him what to do next. Accompanied by pianist McCoy Tyner, drummer Elvin Jones, and bassist Steve Davis, he released a profound take on Richard Rodgers’ “My Favorite Things” that got so much airplay it revitalized the soprano saxophone. Recording with a new label, Impulse!, Coltrane switched bass duties to 23-year-old Reggie Workman and backed his combo with a slew of auxiliary musicians. The result was the risky, perennially underrated Africa\/Brass, which updated the big-band ensembles of yore with transatlantic clave beats and polyrhythms. Anomalous on the surface, such albums offered a blueprint for Coltrane’s future: screeching, unsettled melodies; bottom ends that churned and thrashed; a sprawling palette that mixed in music from India and Africa. Four years had passed since Coltrane quit heroin and resolved to become a “preacher” on his instrument, and now he eschewed the bohemian archness of giants like Charlie Parker and Dizzy Gillespie to propound an earnest, devotional relationship with his art. The rest of jazz soon followed suit: A decade later, musicians far and wide explored the spiritual caverns and world-spanning vistas that Coltrane uncovered at the dawn of the ’60s.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEvenings at the Village Gate\u003c\/em\u003e: John Coltrane with Eric Dolphy, a new archival release, captures the 34-year-old artist as he comes to grips with his music’s remarkable possibilities. The album is culled from a couple of nights during an August and early September residency at the Village Gate, a since-shuttered Greenwich Village venue. Containing just five songs in 80 minutes, the set is nonetheless comprehensive. Coltrane plays a hit (“My Favorite Things”), a standard from before his era (1936’s “When Lights Are Low”), a song that he would not put out on record for several years (“Impressions”), and a couple of recordings that the world was about to hear in studio form (“Greensleeves” and “Africa”). The LP is a freeze-frame of jazz as it escapes the present and absconds to the future.\u003c\/p\u003e\n\u003cp\u003eIt also illuminates Coltrane’s work with a tragically short-lived fellow traveler, Eric Dolphy. Unlike Coltrane, who was keen on modality, Dolphy experimented without abandoning tonal concerns. He was a crackerjack soloist who could make any stray bleat from his mouthpiece sound soulful. The quartet welcomed him in the spring of ’61 as a featured sideman, and he left fingerprints on much of what Coltrane accomplished for the rest of the year. The multi-reedist orchestrated large sections of Africa\/Brass in May and June, and his solos took over the bandstand while he gigged with the band that summer and fall. Just as Coltrane did for Miles Davis during their final shows together, Dolphy widened Coltrane’s canvas. The two had been friends for years. Coltrane even carried a photo of Dolphy with him after he died, at 36, in 1964, from a diabetic coma, hanging it on the walls of hotel rooms while he traveled. But the beauty of their interplay was tightly wound in the tension of two self-directed men with irrepressible appetites for innovation. Coltrane understood that he had to carve out space for Dolphy’s individuality within his band. He purportedly sat offstage during Dolphy’s solos at the Village Gate, magnanimously handing the reins to an artist who would express himself regardless.\u003c\/p\u003e\n\u003cp\u003eCritics tout Coltrane’s soprano saxophone as the key that unlocked the door to spiritual jazz, yet Dolphy’s similarly unconventional instrumentation greased the hinges. The version of “My Favorite Things” on \u003cem\u003eEvenings at the Village Gate\u003c\/em\u003e begins with a prelude from Dolphy’s flute, airy and ascendant, before the main horn line offers solid footing. On the next track, “When Lights Are Low,” Dolphy’s bass clarinet simmers below Coltrane’s tea-kettle sax tones. Together, they liberate the cut from its worn page in the jazz fakebook.\u003c\/p\u003e\n\u003cp\u003eColtrane’s road to the avant-garde was built from his ability to compose, arrange, and imagine new roles for diverse instruments on his bandstands. He divided rhythm duties, writing static harmonies that pulsed through his piano lines, permitting more movement from drummers and bassists. On “Greensleeves,” Tyner’s hypnotic chords riff on the motif from “My Favorite Things.” Meanwhile, Jones tumbles out of a waltz and through a seemingly endless fill on the toms and cymbals. Some of the Village Gate dates featured a second bassist, Art Davis (no relation to Steve), who provided drones and allowed Workman to roam without restraints.\u003c\/p\u003e\n\u003cp\u003eAlbum closer “Africa” emerged from one of those nights. It’s the only live rendition of the Africa\/Brass centerpiece known to exist on tape. The song begins with applause, as the band teases a fleeting figure from a George Gershwin tune that Coltrane reinvented, “Summertime.” Davis plunks away regularly, enabling Tyner to sprint up and down the keys and Workman to navigate a searching bass solo. Africa\/Brass was Coltrane’s most unusual album in the busy year of 1961, and it landed on shelves near the end of his run at the downtown venue. The inclusion from his latest, weirdest disc coaxes the audience to polite applause and probably some puzzlement, too.\u003c\/p\u003e\n\u003cp\u003eConfusion was a frequent reality at the Village Gate, a hall that prided itself on its sometimes disarming variety. Comedy acts appeared after avant-garde jazz musicians. Experimental luminaries performed on the same stage as popular singers. During various appearances at the Gate, Coltrane faced skeptical audiences who had come to see folk singer Odetta, blues legend Lightnin’ Hopkins, and 19-year-old Aretha Franklin. The shows included on \u003cem\u003eEvenings at the Village Gate\u003c\/em\u003e were shot by photojournalist Herb Snitzer, who claimed that the room was half empty; he imagined Coltrane had made five or “maybe ten bucks” from the concert. The dog days of summer were in full swelter, and the venue had to lure listeners out of their homes and onto the sticky Village streets for dinner (bad service, but apparently tasty food!) and a show. Yet it’s hard to imagine that Coltrane and co. cared much about their audience. The sound from the stage is an elemental force blasting through the soporific climes, shaking the empty seats.\u003c\/p\u003e\n\u003cp\u003eAcross the hall, one spectator made a spontaneous decision. Twenty-four-year-old engineer and Village scenester Rich Alderson wanted to test the club’s sound system and also an old RCA 77-A ribbon microphone he had modified. Coltrane and club owner Art D’Lugoff never meant to cut a record, but Alderson captured a couple of evenings and then forgot about them. He soon moved on from the Village Gate—eventually, Alderson built the sound system for Bob Dylan’s mid-’60s tours—and the recordings were lost until a Dylan scholar discovered them by accident while doing research at the New York Public Library in 2017. Another piece in the puzzle of John Coltrane arrived, as it should, by improvisation and chance.\u003c\/p\u003e\n\u003cp\u003eStill, the rudimentary production will frustrate fans who seek sonic perfection from mid-century pioneers. Tyner’s piano is muffled enough on “My Favorite Things” that his parts can sound like ghostly percussion unless you focus on them. Basslines are sometimes difficult to unearth from the tumult, with the notable exception of “Africa”—ditto Dolphy’s more delicate trills. Scores of Coltrane heads weaned themselves on the impressive fidelity of “Live” at the Village Vanguard and 1964’s Live at Birdland, both of which were captured with extreme stereo know-how by Rudy Van Gelder. Fans expecting this treatment may be displeased, but their reactions befit the artist—Coltrane never liked meeting expectations.\u003c\/p\u003e\n\u003cp\u003eHis Village Gate set offers us something beyond pristine audio: extraordinary energy. The parts we cannot clearly perceive murmur away, offering fullness to the music anyway. Improved sound quality wouldn’t make the listening experience more authentic—but it could make it fussy, more in keeping with sterile 21st-century airpods than an acoustically challenged Bleecker Street basement in the early ’60s. (This basement remained a venue, Le Poussin Rouge, after the Gate closed 30 years ago; the ground floor, naturally, has become a CVS.) Alderson placed his single mic near Elvin Jones, whose elastic drumming feels like a marvelous solo act. He flails against orthodoxy, rattles the bars of swing time and jeers at the expectations of consistency that percussionists have to shoulder. Ostensibly a timekeeper, Jones was the wildest member of Coltrane’s ’61 quartet, and perhaps as a result he was the last player of this era that Coltrane would replace.\u003c\/p\u003e\n\u003cp\u003eAt the end of the year, Workman left— his father was sick and Coltrane had a new trajectory in mind. Dolphy departed soon after, eventually joining Charles Mingus’ band for the second time, where his deft reedwork could take center stage. The quartet reshuffled as Coltrane surged forward. These Village Gate performances, though, continued to reverberate in his own music and in music at large. There were precedents for composers using two bassists, but arguably no one before Coltrane had saddled one bassist with roving lead parts and another with a stationary, raga-inflected drone. Coltrane battle-tested this dynamic at the Gate, and then developed it over the years. His experimentation signaled something both impractical and studied, a breakdown of big-band largesse into the endless permutations that opened to jazz musicians as ’50s conventions fractured into parallel universes of sound. Within a month of the Gate performances, Ornette Coleman released Free Jazz: A Collective Improvisation, which used two bassists. In 1966, Cecil Taylor doubled up bassists on his uncompromising Unit Structures. By 1970, Coltrane’s former boss Miles Davis was using two bassists on a game-changing release in a far different vein, Bitches Brew.\u003c\/p\u003e\n\u003cp\u003eThe poet and jazz critic Amiri Baraka (then known as LeRoi Jones), in his gorgeous liner notes to Live at Birdland, called McCoy Tyner “the polished formalist of the group” and claimed that he played more cautiously than his bandmates. Baraka’s comment became writing on the wall—in 1965, Coltrane replaced Tyner with his wife, Alice Coltrane. But the saxophonist was merely trying out something new, not deriding something old. Perhaps because he died tragically young, it’s easy to imagine that Coltrane had a destination in mind with his music, some heavenly realm formed of sacred geometries and unceasing magic-hour light, where an even more classic quartet plays nonstop with Rudy Van Gelder perched behind the sound boards. In reality, had Coltrane lived to ripe old age, he would have continued to try out different styles, bands, influences and ideas, no doubt jamming with past collaborators along the way. Squabbles about sound quality, and comparisons between various iterations of his quartet, are never convincing: John Coltrane cared about change, not perfection.\u003c\/p\u003e\n\u003cp\u003eHe played “My Favorite Things'' during his last recorded concert, in 1967, at the Olatunji Center for African Culture in Harlem. The version bears no similarity to the original except for a several-second phrase during a breathless solo. These familiar notes are surprising after an onslaught of free jazz, masterminded by a terminally ill genius who had passed through all sorts of flames in order to become the most transformative, intense and grating saxophonist in the world. Then again, Coltrane once said that he considered “My Favorite Things” to be the best recording he ever made. He liked the composition because he could play it fast or slow, because it “renews itself according to the impulse you give it,” because it was a good place to start.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eEvenings at the Village Gate\u003c\/em\u003e, Coltrane treats his hit as raw material. He adapts it for another soloist, and rebuilds it into other tracks, one of which he dedicated to Africa. The experience recalls a quote that, like his music, has been referenced too often but retains its grandeur all the same: “I want to start in the middle of a sentence and then go both directions at once.” Coltrane reaches at once into the future and the place where music began. He touches the primeval and follows along with the changes. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/john-coltrane-evenings-at-the-village-gate-john-coltrane-with-eric-dolphy\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eAnother “new” album by John Coltrane, this recording was rediscovered in the New York Public Library, where it had been deposited in the late 1960s or early 70s. The recordings were made over two nights during a summer season in 1961 by the club’s sound engineer, Rich Alderson, with a single microphone suspended over the stage. Alderson provides some details in an essay accompanying the [album: he hadn’t intended to record the music for posterity; rather, he wanted to know what the sound was like.\u003c\/p\u003e\n\u003cp\u003eThe single microphone means the music is in mono, and as with many bootleg recordings, some instruments are recorded better than others. The contributions by Coltrane and multi-instrumentalist Eric Dolphy are clear, as is Elvin Jones‘ drumming, but McCoy Tyner‘s piano and Reggie Workman and Art Davis‘ basses can be indistinct, especially when other instruments are soloing.\u003c\/p\u003e\n\u003cp\u003eThis is Coltrane in a period of transition: he’d had significant success earlier in the year with his My Favourite Things album, and he’d experimented with a larger ensemble on the yet-to-be released Africa\/Brass. Also, his “classic quartet” had yet to coalesce.\u003c\/p\u003e\n\u003cp\u003eThe recording captures the excitement of the band live, particularly on the in-concert staples, “My Favourite Things”, “Impressions” and “Greensleeves”. Compared to “My Favourite Things”, the less familiar “When the Lights Are Low” seems almost ordinary, but it contains some beautiful playing, including a superlative solo by Tyner.\u003c\/p\u003e\n\u003cp\u003eDolphy consistently pushes boundaries – indeed, he sounds more adventurous than Coltrane much of the time – although on the particularly fast “Impressions”, Coltrane’s soprano reaches new highs, its repetitiveness being almost hypnotic.\u003c\/p\u003e\n\u003cp\u003eAt over twenty minutes, “Africa” is the longest piece and features an extended bass section, Davis soloing while Workman maintains the groove. It also includes the album’s only drum solo, although the sheer physicality of Jones’ drumming generally pushes the music along and the band re-entering after his solo provides its most exciting point.\u003c\/p\u003e\n\u003cp\u003eThere are many live recordings of John Coltrane. The one I return to most is Afro Blue Impressions – probably because it was the first one I heard. \u003cem\u003eEvenings at the Village Gate\u003c\/em\u003e holds its own against that, and against the Complete Village Vanguard Sessions from the same year. So, while this might not be the first Coltrane live recording one will turn to, should you feel the need for another version of “Impressions”, “My Favourite Things” and “Greensleeves”, it’s essential. — (via Patrick Hadfield \/\/ \u003ca href=\"https:\/\/ukjazznews.com\/john-coltrane-with-eric-dolphy-evenings-at-the-village-gate-rec-1961\/\" target=\"_blank\" rel=\"noopener\"\u003eUK Jazz News\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7AleWm3WG8Ko8AJjfaa3oW?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, UMe \u003cbr\u003eFormat:  2 x Vinyl, LP, Album, Mono, Gatefold\u003cbr\u003eReleased: 2023 \/ Recorded: 1961\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle:  Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42666214162590,"sku":"602455514196","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/R-27684567-1689549611-3427.jpg?v=1689670043"},{"product_id":"yusef-lateef-psychicemotus-verve-by-request","title":"Yusef Lateef – Psychicemotus (Verve By Request Reissue)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003c!--StartFragment --\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"cf0\"\u003ePsychicemotus\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e: Yusef Lateef’s 1966 exploration: An album whose intellectual foundation never compromises its emotive intimacy or, crucially, its swing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"cf0\"\u003ePsychicemotus\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e may be the quintessential Yusef Lateef album title \u003c\/span\u003e\u003cspan class=\"cf1\"\u003e– a word of his own invention referencing the symbiotic parts of his practice: the cerebral (psychic) and the emotional (\u003c\/span\u003e\u003cspan class=\"cf1\"\u003eemotus\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e). A multi-instrumentalist, composer, bandleader, scholar\/educator, author and visual artist, Lateef (1920-2013) emerged from the fertile Detroit bebop lineage that produced luminaries like Elvin Jones, Donald Byrd, Barry Harris, Tommy Flanagan, Curtis Fuller, Louis Hayes and Dorothy Ashby. His thirst for knowledge and spiritual perspective, however, was uniquely his own. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003eIn 1948 he converted to the Islamic Ahmadiyya Movement and changed his name (from William Emmanuel Huddleston), while embracing an array of non-Western instruments and infusing global harmonic scales and exotic \u003c\/span\u003e\u003cspan class=\"cf1\"\u003etimbric\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e textures into his work. One early on-the-nose album title, 1957’s Jazz For the Thinker, reflected this studied approach. But Lateef would come to reject “jazz,” believing it a demeaning descriptor from outside the culture. Instead he preferred another one of his neologisms, “\u003c\/span\u003e\u003cspan class=\"cf1\"\u003eautophysiopsychic\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e music.” And if the term never quite caught on, his definition was indisputably easy to understand: “This word means music from one’s physical, spiritual and mental self, i.e., music from the heart.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003eIt also well describes \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003ePsychicemotus\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf1\"\u003e, an album whose intellectual foundation never compromises its emotive intimacy or crucially, its swing. Lateef heads up a quartet completed by bassist Reggie Workman, pianist Georges \u003c\/span\u003e\u003cspan class=\"cf1\"\u003eArvanitas\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e, and drummer James Black. On a fast-paced burner like “\u003c\/span\u003e\u003cspan class=\"cf1\"\u003eSemiocto\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e” led by Lateef’s tenor, they’re positively classic-Coltrane-quartet-\u003c\/span\u003e\u003cspan class=\"cf1\"\u003eesque\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e in passion and precision. While Lateef’s synthesis of influences informs everything herein, James Black – New Orleans-born and imbued with the city’s second line rhythmic heritage – steps out as the unit’s kinetic engine. The title cut, a sublime conversation in syncopation dominated by Workman’s elastic bass, Lateef’s flute and Black’s drums, is particularly animated by the latter’s genius command of dynamics. The group’s interplay is equally compelling on more reflective material. “Bamboo Flute Blues” pays direct homage to NOLA funeral parades, Lateef playing bluesy long tones on an F pentatonic scale flute of his own design while Black taps the snare with his fingertips. It’s surpassed in gentle beauty here only by “First \u003c\/span\u003e\u003cspan class=\"cf1\"\u003eGymnopedie\u003c\/span\u003e\u003cspan class=\"cf1\"\u003e,” a flute treatment of a late-1800s piece by influential French composer Erik Satie accented by tom-tom, cymbal, and rimshots that’s fondly reminiscent of Lateef’s beloved 1961 reading of “Love Theme From ‘Spartacus.’”\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003e“\u003c\/span\u003e\u003cspan class=\"cf2\"\u003eMedula\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e Sonata” \u003c\/span\u003e\u003cspan class=\"cf3\"\u003e– the track that really puts the psychic in \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003ePsychicemotus\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf3\"\u003e – is the LP’s most ambitious and unconventional piece. A kind of abstract brainstem\/anatomical score with Indian bells as a prominent texture, its improvised exchanges between Lateef’s tenor and the rest of the players evokes the subtle spontaneity of nerve signals abuzz. By contrast, takes on Great American Songbook standards like “Why Do I Love You,” and “I’ll Always Be in Love With You” are simply gorgeous reminders of the romantic warmth of Lateef’s tenor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf3\"\u003eEver the \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eunpinnable\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e leader, Lateef concludes the program with one last curveball, shining a solo spotlight on pianist \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eArvanitas\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e for Fats Waller’s “Ain’t \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eMisbehavin\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e’.” Whether Lateef intended it as such or not, the French import\/son of Greek \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eparents’s\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e dexterous interpretation of the legendary Harlemite’s classic serves as a fitting coda – a testimony to the music’s fundamental humanity. “I’m very glad to be in America and to learn new things musically!” \u003c\/span\u003e\u003cspan class=\"cf3\"\u003eArvanitas\u003c\/span\u003e\u003cspan class=\"cf3\"\u003e practically glows in a quote from the album’s original liner notes. Under Yusef Lateef’s tutelage he could not have enjoyed a better teacher.\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e \u003c\/span\u003e\u003cspan class=\"cf3\"\u003e— (via \u003ca href=\"https:\/\/www.udiscovermusic.com\/stories\/yusef-lateef-psychicemotus-feature\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003c!--EndFragment --\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003ePsychicemotus \u003c\/em\u003ewas released in 1965 and features Yusef Lateef on various flutes and tenor saxophone, \u003c\/span\u003eGeorges Arvanitas\u003cspan\u003e on piano, bassist \u003c\/span\u003eReggie Workman\u003cspan\u003e, and drummer \u003c\/span\u003eJames Black\u003cspan\u003e. And while the \u003c\/span\u003eColtrane\u003cspan\u003e era of modal and free jazz was in full swing, Lateef always followed his own muse, and continued looking forward while looking back to ancient musics. His use of bamboo and Chinese wood flutes on the title track and \"Bamboo Flute Blues\" added not only dimension and texture, but rhythmic invention to standard jazz forms. Yet his readings of \u003c\/span\u003eJerome Kern\u003cspan\u003e's and \u003c\/span\u003eOscar Hammerstein\u003cspan\u003e's \"Why Do I Love You,\" on which he plays tenor, swings elegantly while incorporating both hard bop and angular outside playing in his solo. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eArvanitas\u003cspan\u003e is a near perfect foil for Lateef in that while he's not as technically flashy as \u003c\/span\u003eBarry Harris\u003cspan\u003e, he is a deeply sympathetic player who uses accents and ostinati as grounding points, and prefigures rhythmic changes rather than just comping. The beautiful reading of \u003c\/span\u003eErik Satie\u003cspan\u003e's \"First Gymnopedie\" on which Lateef plays flute is an utterly beautiful, restrained, and adventurous reading, and is allowed to resonate rhythmically with hand-percussion fills by \u003c\/span\u003eBlack\u003cspan\u003e. While not Lateef's finest recording for Impulse (Live at Pep's takes the —cake), it certainly is a worthy and memorable one. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/psychicemotus-mw0000394977\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e—\u003cbr\u003e\u003c\/em\u003e\u003cem\u003eVerve By Request Series\u003c\/em\u003e features transfers from the analog tapes remastered on 180-gram vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/4UqqaK6LJahK6O4dbSTEKP?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Verve Records, UMe, Impulse!\u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, Gatefold\u003cbr\u003eReissued: 2023 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Modal, Free Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Jazz - Saxophone\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":42683810644126,"sku":"602455212382","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/verlp21238__55212.jpg?v=1690791631"},{"product_id":"protect-your-light-irreversible-entanglements","title":"Irreversible Entanglements - Protect Your Light","description":"\u003cp\u003eIrreversible Entanglements\u003cspan\u003e is a band built on improvisation, five jazz virtuosos—poet\/vocalist Camae Ayewa (aka \u003c\/span\u003eMoor Mother\u003cspan\u003e), bassist Luke Stewart, trumpeter Aquiles Navarro, saxophonist Keir Neuringer, and drummer Tcheser Holmes—coalescing around an idea and discovering where it takes them. Their live shows are typically presented as a single piece of music, one movement seamlessly evolving into the next as they explore their anti-colonial and anti-fascist politics through sound. Their albums so far have mirrored this approach. After bonding during a Musicians Against Police Brutality event, they recorded their self-titled 2017 \u003c\/span\u003edebut\u003cspan\u003e in a single day in Brooklyn, their first time performing as a collective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is Irreversible Entanglements’ first album for storied jazz label Impulse!, home to greats like John Coltrane, Archie Shepp, and Pharoah Sanders. To record it, the band set up shop at Rudy Van Gelder Studios in Englewood Cliffs, New Jersey, a historic space inhabited by the ghosts of jazz giants. And though the studio is not referenced specifically, its spiritual energy seems to carry through the album. On “Soundness,” Ayewa beckons us inside (“You are safe here\/In the room”) and lets fluttering horns and reeds wash over us, connecting the practice of prayer to the safety of the spaces in which it is conducted. These are the places where the energy of the universe is concentrated, cultivated, and protected: the places where music is made. \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/irreversible-entanglements-protect-your-light\/\"\u003ePitchfork\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1fBLeeAMPcrByMMDCKCcYB?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable class=\"table_1fWaB\" border=\"1\" style=\"border-collapse: collapse; border-width: 1px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLabel:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eImpulse!\u003cspan\u003e \u003c\/span\u003e– 00602455819246\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eFormat:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\n\u003cdiv class=\"format_item_3SAJn\"\u003e\u003cspan style=\"color: #000000;\"\u003eVinyl,\u003cspan\u003e \u003c\/span\u003eLP, Stereo\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eCountry:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eEurope\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eReleased:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003ctime datetime=\"2023-09-08\"\u003e\u003cspan style=\"color: #000000;\"\u003e8 Sept 2023\u003c\/span\u003e\u003c\/time\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eGenre:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eJazz\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eStyle:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eFree Jazz\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42756588175518,"sku":"602455819246","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/R-28236937-1694479283-8054.jpg?v=1695712884"},{"product_id":"alice-coltrane-the-carnegie-hall-concert","title":"Alice Coltrane – The Carnegie Hall Concert","description":"\u003cp\u003eDescribed by a writer for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePan African Music\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas “a splendid and ecstatic memento of spiritual jazz with some of its greatest masters,” Alice Coltrane’s 1971 Carnegie Hall concert (and its corresponding album release) left an indelible mark on audiences and the history of jazz music as a whole.\u003c\/p\u003e\n\u003cp\u003eBorn Alice McLeod in Detroit, Michigan, Coltrane embarked on her musical journey at a young age, displaying prodigious talent and a deep-rooted connection to spirituality. Her marriage to legendary saxophonist John Coltrane further ignited her passion for music, propelling her into the realm of jazz luminaries. \u003c\/p\u003e\n\u003cp\u003eColtrane made her Carnegie Hall debut on April 14, 1968, in a program titled “Cosmic Music,” which featured her original music in addition to works by John Coltrane and Jimmy Garrison. Just a few years later, on February 21, 1971, she brought together an all-star cast of jazz legends to the Hall in a benefit concert for Swami Satchidananda’s Integral Yoga Institute.\u003c\/p\u003e\n\u003cp\u003eColtrane performed on both piano and harp, joined by saxophonists Pharoah Sanders and Archie Shepp, bassists Jimmy Garrison and Cecil McBee, and drummers Ed Blackwell and Clifford Jarvis. Also featured were rock band The Rascals and singer-songwriter Laura Nyro. \u003cspan\u003eColtrane would go on to perform at Carnegie Hall five more times, the last of which were back-to-back performances on September 21, 1984, alongside pianist Marilyn Crispell with saxophonist Sam Rivers and bassist Reggie Workman. According to the review published in \u003c\/span\u003e\u003cem\u003eThe New York Times\u003c\/em\u003e\u003cspan\u003e, Crispell opened with a solo piano set, followed by the Alice Coltrane Quartet, which recreated John Coltrane’s \u003c\/span\u003e\u003cem\u003eImpressions\u003c\/em\u003e\u003cspan\u003e in commemoration of his birthday on September 23. — (via \u003ca href=\"https:\/\/www.carnegiehall.org\/explore\/articles\/2024\/03\/22\/alice-coltranes-1971-carnegie-hall-concert\" target=\"_blank\" rel=\"noopener\"\u003eCarnegie Hall\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"420\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3QLSI5J1AcRtkqYRxVmEns?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, UMe\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Stereo\u003cbr\u003eCountry: Worldwide\u003cbr\u003eReleased: Mar 22, 2024\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Post Bop, Modal\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Avant Garde \/ Free Jazz\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43431406928030,"sku":"00602458828696","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/Alice-Coltrane-Carnegie-Hall-copy.jpg?v=1712050155"},{"product_id":"alice-coltrane-a-monastic-trio-2024-verve-by-request-reissue","title":"Alice Coltrane – A Monastic Trio (2024 Verve By Request Reissue)","description":"\u003cp\u003e\u003cem\u003eA Monastic Trio\u003c\/em\u003e, created in the year following her husband's passing, is Coltrane's first recording as a band leader and features six original compositions. Alice Coltrane's 1968 solo debut on Impulse still stands tall in the artist's excellent discography. Coltrane had already gained a considerable education playing in the band of her late husband\u003cspan\u003e \u003c\/span\u003eJohn\u003cspan\u003e \u003c\/span\u003eduring one of his boldest and most exploratory periods. The searching quality underpinning the saxophonist's last albums is also present on \u003cem\u003eA Monastic Trio\u003c\/em\u003e, as are the Eastern modalities and the balance between density and expansiveness often associated with\u003cspan\u003e \u003c\/span\u003eTrane.\u003c\/p\u003e\n\u003cp\u003eBut to consider Coltrane's debut a mere offshoot of her late husband's inventions is to do her a great disservice. Coltrane distinguishes herself as a composer (all the tunes on the album are hers), and as an instrumentalist (her harp playing, in particular, is noteworthy). A Monastic Trio also benefits from a superb personnel list, including\u003cspan\u003e \u003c\/span\u003eRashied Ali\u003cspan\u003e \u003c\/span\u003eon drums,\u003cspan\u003e \u003c\/span\u003eJimmy Garrison\u003cspan\u003e \u003c\/span\u003eon bass, and the irrepressible\u003cspan\u003e \u003c\/span\u003ePharoah Sanders\u003cspan\u003e \u003c\/span\u003eon saxophone, flute, and bass clarinet. This recording remains one of the landmark debuts in avant-garde jazz. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAlice Coltrane’s solo debut Monastic Trio (1968) is one of her finest, confidently establishing her compositional voice with a series of tunes that combine Easter modes with blues and gospel tonalities. As the sole lead instrumentalist, Coltrane plays the shit out of the piano, particularly on ‘Ohnedaruth’ and ‘Gospel Trane’, where she brings her rippling, harp-like phrasing to complex modal structures. The gracefulness of her right-hand playing is underpinned by a gutsy sense of swing that reflects her gospel and bebop roots. The harp makes its first outing on Side B, as Coltrane conjures shimmering clouds of tone over Garrison’s exploratory bass (I’ll even wager that ‘Lovely Sky Boat’ is an influence on Parliament’s simultaneously sublime and ridiculous ‘Silent Boatman’, with its ‘Skye Boat Song’ references and luscious harp). — (via \u003ca href=\"https:\/\/thequietus.com\/interviews\/strange-world-of\/alice-coltrane-review-john-coltrane\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Quietus\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2zZ8GEFfH3HrIRC5UPyJRy?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Verve Records, UMe, Impulse!\u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, Gatefold\u003cbr\u003eReissued: 2024 \/ Original Release: 1968\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Soul-Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Avant Garde \/ Free Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":44010862968990,"sku":"0602458948134","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/Coltrane-Alice-Monastic-Trio.jpg?v=1718955134"},{"product_id":"elvin-jones-and-richard-davis-heavy-sounds","title":"Elvin Jones and Richard Davis - Heavy Sounds","description":"\u003cp\u003e\u003cspan\u003eRecorded for Impulse in 1967, \u003c\/span\u003e\u003ci\u003eHeavy Sounds\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas originally intended to be a trio date, with Jones, Davis, and guitarist\u003cspan\u003e \u003c\/span\u003eLarry Coryell. However, Coryell did not appear, and producer\u003cspan\u003e \u003c\/span\u003eBob Thiele\u003cspan\u003e \u003c\/span\u003esuggested that Jones and Davis play something together in his absence. The result was a 11½ minute duet version of \"Summertime\". Davis recalled: \"No discussion, no editing, no plan, I just started playing the melody, and there he was... and I just thought there was some very brotherly thing about that particular piece.\"\u003c\/p\u003e\n\u003cp\u003eThiele then suggested that the two musicians return to the studio the following day, and Jones invited saxophonist\u003cspan\u003e \u003c\/span\u003eFrank Foster\u003cspan\u003e \u003c\/span\u003eand pianist Billy Greene to join them. Together, they recorded a standard (\"Here's That Rainy Day\"), a tune by Greene (\"M.E.\"), and two by Foster (\"Raunchy Rita\" and \"Shiny Stockings\"), as well as a version of \"Take the 'A' Train\" that was subsequently lost. An additional track, titled \"Elvin's Guitar Blues\" was also recorded, with Jones on acoustic guitar. He explained: \"I'm not a real guitarist, but it's something that I love... It was one of these old blues tunes — something an old man, his name was Red, taught me when I was a kid... I've always liked to play that because it was one of the first pieces I learned how to play. And I like to listen to these old guitar players: Muddy Waters, John Lee Hooker...\" — via Label\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eOriginally conceived by Elvin Jones and bass virtuoso Richard Davis as a trio recording with guitarist Larry Coryell (who was swiftly replaced by Frank Foster and Billy Green when he didn’t show), \u003cem\u003eHeavy Sounds\u003c\/em\u003e was Jones’ final release for Impulse! before he signed to Blue Note in 1968.\u003c\/p\u003e\n\u003cp\u003eGiven the album’s title, those expecting the fire and brimstone of 1965’s Live In Seattle from Jones’ final weeks with Coltrane, may be initially taken aback as Foster’s lengthy opener ‘Raunchy Rita’ slides into a strutting, soulful slice of hard bop. However, the saxophonist’s bold, Coltrane-tailored improvisation and Jones’ persistent polyrhythmic prodding soon elevates the tension with Foster’s upper register acrobatics over a nagging ostinato bass and piano figure, which feels like a forerunner to McCoy Tyner’s glorious ‘Walk Spirit, Talk Spirit’.\u003c\/p\u003e\n\u003cp\u003eDavis’ ever-imaginative bass and Jones’ crisp, animated brush work are as much a feature of Foster’s ‘Shiny Stockings’ as is his finely cut, late-night melody; Green’s ‘ME’ is a short sharp swinger giving space to the lesser known pianist, and ‘Elvin’s Guitar Blues’ is 80 seconds of Jones’ finger picked blues guitar before Foster picks up the chorus for a purposeful solo.\u003c\/p\u003e\n\u003cp\u003eThe centrepiece in many ways is the surprising Jones\/Davis 11’35” duet on Gershwin’s ‘Summertime’, a spontaneous studio improvisation that unfolds out of Davis’ classical arco introduction. Joined by Jones’ whispering mallets on tom and cymbals, Davis draws deep on his classical and jazz pedigree, orchestrating the theme, contrasting melancholic layers and unexpected twists before his pizzicato solo entrances with dense lyrical clusters, swoops and double time abandon.\u003c\/p\u003e\n\u003cp\u003eJones switches from subtle circular brush strokes to a thundering Afro-centric mallet solo which subsides under Davis’ quivering tremolo bow coda. A startling illustration of the bassist’s wish that his instrument could be more of an inventive lead rather than its mainly accompanying role.\u003c\/p\u003e\n\u003cp\u003eIt is good to have this album back on heavyweight vinyl and in a replica gatefold sleeve; it’s excellently remastered, with superior sound over the long-deleted CD reissue. And the stark, atmospheric cover, depicting Jones and Davis puffing away heavily and wreathed in cigarette smoke, would no doubt carry a government health warning today! — (via \u003ca href=\"https:\/\/jazzwise.com\/reviews\/review?slug=elvin-jones-and-richard-davis-heavy-sounds\" target=\"_blank\" rel=\"noopener\"\u003eJazzWise\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/3nBv7F1rNLtVjVgueYXDqy?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse! \/ Verve\u003cbr\u003eFormat: Vinyl, LP, Album, Stereo\u003cbr\u003eReissued: 2024 \/ Original Release: 1968\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Soul-Jazz, Post Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Soul-Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":44235049140382,"sku":"11671","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/elvinjonesricharddavis-heavysounds-1lp-cvr.jpg?v=1724313715"},{"product_id":"duke-ellington-john-coltrane-st-acoustic-sounds-series","title":"Duke Ellington \u0026 John Coltrane – S\/T (Acoustic Sounds Series)","description":"\u003cp\u003e\u003cspan\u003eThe classic 1962 album \u003cem\u003eDuke Ellington \u0026amp; John Coltrane\u003c\/em\u003e showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer \u003c\/span\u003eBob Thiele\u003cspan\u003e (who also produced similar albums for Ellington including pairings with \u003c\/span\u003eLouis Armstrong\u003cspan\u003e and \u003c\/span\u003eColeman Hawkins\u003cspan\u003e) chose to bring in Coltrane's own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist \u003c\/span\u003eJimmy Garrison\u003cspan\u003e and drummer \u003c\/span\u003eElvin Jones\u003cspan\u003e, as well as alternates bassist \u003c\/span\u003eAaron Bell\u003cspan\u003e and drummer \u003c\/span\u003eSam Woodyard\u003cspan\u003e. The most surprising aspect of the Ellington\/Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington's own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like \u003c\/span\u003eHawkins\u003cspan\u003e and \u003c\/span\u003eBen Webster\u003cspan\u003e while coming up in Philadelphia. \u003cbr\u003e\u003cbr\u003eSimilarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1956 Newport Jazz Festival, later released as \u003c\/span\u003eEllington at Newport\u003cspan\u003e. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists, not the least of which his other 1962 date, \u003c\/span\u003eMoney Jungle\u003cspan\u003e with bassist \u003c\/span\u003eCharles Mingus\u003cspan\u003e and drummer \u003c\/span\u003eMax Roach\u003cspan\u003e. Here, Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical \"In a Sentimental Mood\" and a soulful, half-lidded version of \u003c\/span\u003eBilly Strayhorn\u003cspan\u003e's \"My Little Brown Book.\" Ellington even supplied the brisk original \"Take the Coltrane,\" allowing plenty of room for Coltrane to let loose with knotty, angular lines. — via AllMusic\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1OvmilWKtrabJGEpPRlgK5?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Verve Records\u003cbr\u003eSeries: Acoustic Sounds Series\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180 Gram, Gatefold\u003cbr\u003eReissued: 2022 \/ Original Release: 1963\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop, Post Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":45231993684126,"sku":"602438089062","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/61pNn6pj8FL-_AC_SL1200.jpg?v=1741678569"},{"product_id":"coleman-hawkins-quartet-today-and-now-2024-verve-by-request-reissue","title":"Coleman Hawkins Quartet – Today And Now (2024 Verve By Request Reissue)","description":"\u003cp\u003eColeman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor. Coleman Hawkins started piano lessons when he was five, switched to cello at age seven, and two years later began on tenor. At a time when the saxophone was considered a novelty instrument, used in vaudeville and as a poor substitute for the trombone in marching bands, Hawkins sought to develop his own sound. A professional when he was 12, Hawkins was playing in a Kansas City theater pit band in 1921, when\u003cspan\u003e \u003c\/span\u003eMamie Smith\u003cspan\u003e \u003c\/span\u003ehired him to play with her\u003cspan\u003e \u003c\/span\u003eJazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a background role and he was occasionally heard on instrumentals. After leaving\u003cspan\u003e \u003c\/span\u003eSmith, he freelanced around New York, played briefly with\u003cspan\u003e \u003c\/span\u003eWilbur Sweatman, and in August 1923 made his first recordings with\u003cspan\u003e \u003c\/span\u003eFletcher Henderson. \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHawkins appeared in a wide variety of settings, from \u003c\/span\u003eRed Allen\u003cspan\u003e's heated Dixieland band at the Metropole and leading a bop date featuring \u003c\/span\u003eIdrees Sulieman\u003cspan\u003e and \u003c\/span\u003eJ.J. Johnson\u003cspan\u003e, to guest appearances on records that included \u003c\/span\u003eThelonious Monk\u003cspan\u003e, \u003c\/span\u003eJohn Coltrane\u003cspan\u003e, and (in the early '60s) \u003c\/span\u003eMax Roach\u003cspan\u003e and \u003c\/span\u003eEric Dolphy\u003cspan\u003e. During the first half of the 1960s, Coleman Hawkins had an opportunity to record with \u003c\/span\u003eDuke Ellington\u003cspan\u003e, collaborated on one somewhat eccentric session with \u003c\/span\u003eSonny Rollins\u003cspan\u003e, and even did a bossa nova album. This album was r\u003c\/span\u003e\u003cspan\u003eecorded in 1962, Hawkins’ quartet featuring Tommy Flanagan (Piano), Major Holley (Bass) and Eddie Locke (Drums) puts forth an easily palatable selection of repertoire, with up-tempo moments like “Go Li’l Liza,” \u0026amp; \"Swingin’ Scotch\" alongside a trio of ballads including Quincy Jones’ “Quintessence.”  — via Label\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4c0LKvyOYloadl5pezO07S?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Impulse!\u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2024 \/ Original Release: 1962\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz - Saxophone\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":45232309862558,"sku":"602465694895","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/61CKAJOhqkL-_UF1000-1000_QL80.jpg?v=1741685024"},{"product_id":"archie-shepp-the-magic-of-ju-ju-2025-verve-by-request-reissue","title":"Archie Shepp - The Magic Of Ju-Ju (2025 Verve By Request Reissue)","description":"\u003cp\u003eAn uncompromising statement in the landscape of free jazz and released in 1968, the album's title track is an 18-minute tour de force. A relentless exorcism of sound driven by Shepp's feverish tenor sax and an army of percussionists, including Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles and Dennis Charles. The piece never loses momentum, a hypnotic Afro-rhythmic foundation over which Shepp's saxophone howls, growls and shrieks with raw, untamed fury. The arrival of Martin Banks and Michael Zwerin's trumpets in the final minutes momentarily grounds the chaos before it collapses in exhaustion. The additional tracks take a more traditional approach, contrasting the firestorm of the title piece.\u003c\/p\u003e\n\u003cp\u003eYet, \u003cem\u003eMagic of Ju-Ju \u003c\/em\u003eremains a defining moment in Shepp's career, marking his transition into deeper explorations of African heritage, gospel, blues and contemporary r\u0026amp;b. The album's title, drawn from Vietnam-era GI slang, hints at Shepp's engagement with the social and political turbulence of the time. Reissued as part of the Verve By Request series on 180-gram vinyl, this is a vital milestone in Shepp's radical, boundary-pushing career. — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6lNAzoeQjlcJduquuA9BNt?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, Universal Music Special Markets \u003cbr\u003eSeries: Verve By Request\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold\u003cbr\u003eReissued: 2025 \/ Original Release: 1967\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Contemporary Jazz, Free Improvisation\u003c\/p\u003e\n\u003cp\u003eFile under: Avant Garde \/ Free Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Verve \/ Impulse!","offers":[{"title":"Default Title","offer_id":45310953848990,"sku":"602475200888","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/themagicofju-ju.jpg?v=1744108413"},{"product_id":"michael-white-pneuma","title":"Michael White - Pneuma","description":"\u003cp\u003eViolinist and composer Michael White was among the first to play the violin in avant-garde jazz, and became one of the first jazz violinists to play jazz rock fusion. During his career, he played with Sun Ra, McCoy Tyner, Eric Dolphy, Pharoah Sanders and others. — (via \u003ca href=\"https:\/\/store.ververecords.com\/products\/michael-white-pneuma-lp?srsltid=AfmBOoocGqIY1DnP5hhSv_a9sZdPIjcgmamTs_g35Os06sN8FSOwFwlj\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eThis ground-breaking jazz violinist demands much from his listeners, opening with a difficult Afro-jazz symphony. He finds a groove after that, helped by four female singers who augment the basic quartet. The leader shares the spotlight, too much considering his jazz violin is what makes this album noteworthy. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/pneuma-mw0000707690\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eWhile not a household name, you’ve likely heard Michael White’s avant-garde violin playing on spiritual jazz classics like Pharoah Sanders’ Thembi, John Coltrane’s Infinity, and Joe Henderson \u0026amp; Alice Coltrane’s The Elements. Pneuma is White’s debut on Impulse! and goes even deeper than the previously mentioned albums, leading with a five part Afro-jazz symphony featuring the great Kenneth Nash on percussion. It’s heavy listening with sweeping dissonance, but resolves fantastically with “The Blessing Song,” a beautiful spiritual jazz groover anchored by four singers praising, “Lord, come into our hearts with a blessing. Lord, come into our hearts with your love.”  — (via \u003ca href=\"https:\/\/insheepsclothinghifi.com\/album\/michael-white-pneuma\/\" target=\"_blank\" rel=\"noopener\"\u003eIn Sheeps Clothing Hi Fi\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/2HIP1xE9p8zqP444WAJWnM?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!\u003cbr\u003eSeries: University Series Of Fine Recordings\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, 180 gram\u003cbr\u003eReissued: 2022 \/ Original: 1972\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Vocals, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":45856921288862,"sku":"600753970522","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/R-25345579-1706866185-2260.jpg?v=1754576589"},{"product_id":"pino-palladino-blake-mills-that-wasnt-a-dream","title":"Pino Palladino, Blake Mills - That Wasn't A Dream","description":"\u003cp\u003eBassist Pino Palladino and guitarist Blake Mills announce \u003cem\u003eThat Wasn't A Dream\u003c\/em\u003e, a new album out August 2025 on New Deal \/ Impulse! Records.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThat Wasn't A Dream\u003c\/em\u003e is a statement of intent from two singular musicians. The Grammy-winning Palladino has reshaped what bass can be in popular music, performing with everyone from D’Angelo to Nine Inch Nails, from Erykah Badu to John Mayer. Meanwhile, Grammy-winner and two-time Producer of the Year-nominee Mills is one of today’s most sought-after producers and multi-instrumentalists, known for his work with Alabama Shakes, Bob Dylan, Fiona Apple, and Perfume Genius as well as his own acclaimed solo albums.\u003c\/p\u003e\n\u003cp\u003ePitchfork described the duo's 2021 debut \u003cem\u003eNotes With Attachments\u003c\/em\u003e as “the sound of consummate collaborators imagining a world where there’s no such thing as a lead performer.” On \u003cem\u003eThat Wasn't A Dream\u003c\/em\u003e, they further dissolve any sense of hierarchy, imbuing their spontaneous compositions with an organic, precisely balanced inner logic. It's quietly audacious, a radical application of their ever-evolving musical chemistry.\u003c\/p\u003e\n\u003cp\u003eTo accompany the album announcement, they've shared the video for lead single “Taka,” a progression of instrumental athletics and generous melodic gestures that builds towards an almost kaleidoscopic funk.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThat Wasn't a Dream\u003c\/em\u003e was recorded over a two-month period in the legendary Studio A at Sound City Studios, the room Mills has helmed since 2018. These sessions pulled in collaborators old and new, most notably Sam Gendel, who performed throughout Notes With Attachments and contributed finishing touches for nearly every track on \u003cem\u003eThat Wasn’t a Dream\u003c\/em\u003e. Though ultimately, this record feels like a deepening of the core relationship between Palladino and Mills.\u003c\/p\u003e\n\u003cp\u003eIf \u003cem\u003eNotes With Attachments\u003c\/em\u003e was about creating cohesion out of layered spontaneity, \u003cem\u003eThat Wasn’t a Dream\u003c\/em\u003e finds coherence through restraint. As Palladino explains, some of the compositions grew from harmonically dense ideas that were later reduced to the barest essentials. \"It came to light, really, that if we could make something work with the least possible ingredients, space could become the centerpiece,\" says Palladino.\u003c\/p\u003e\n\u003cp\u003eIt was also a chance to innovate; one early Palladino sketch, \"What Is Wrong With You?,\" was Mills’s first opportunity to experiment with the prototype of a new instrument, the fretless baritone sustainer guitar, which Mills helped luthier Duncan Price to develop in 2021, and has since been used on numerous productions, as well as live performances with Joni Mitchell.\u003c\/p\u003e\n\u003cp\u003e\"The fretless sustainer can sound almost like a cross between a woodwind, brass, and bowed string instrument,” says Mills. “It’s a tough instrument to control or define.” That undefinable sound, along with a playful approach to minimalism, set the tone for the rest of the album’s writing and recording sessions that would take place almost three years later.\u003c\/p\u003e\n\u003cp\u003eAs a result, the music on \u003cem\u003eThat Wasn’t A Dream\u003c\/em\u003e goes from being deceptively intimate to beautifully disordered. It’s music that rewards close listening: subversive but naturalistic, harnessing chaos with intention, unveiling new forms of beauty all along the way. — (via \u003ca href=\"https:\/\/www.universalmusic.ca\/press-releases\/blake-mills-pino-palladino-announce-that-wasnt-a-dream\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eOn their second record together, Mills and Palladino strip away all excess, building hushed, hypnotic grooves out of bass and fretless baritone guitar, and cushioning it all in copious empty space.\u003c\/p\u003e\n\u003cp\u003eConsider the strange physics of being a passenger: You’re at once in motion and at rest, paradoxically traveling without moving. Scenery hurries by your window. Sometimes your eyes unfocus, scanning a flattened blur of color; other times they might zero in on a road sign or a single leaf, following it out of frame. When you arrive, it’s as if time and space are just behind your shoulder, catching up. That’s the feeling of listening to \u003cem\u003eThat Wasn’t a Dream\u003c\/em\u003e, the spacious and surreal new album from Pino Palladino and Blake Mills. Each song achieves stillness through constant movement and resolution through continuous tension. Isolated melodies occasionally blend into a harmonic cloud before separating once again, drifting nebulously yet highly organized.\u003c\/p\u003e\n\u003cp\u003eThe jazz duo’s first record, 2021’s \u003cem\u003eNotes With Attachments\u003c\/em\u003e, mined similar territory, if a bit busier. Its compositions had the brisk motion of a crowded city sidewalk rather than the hazy liminality of a long train ride. Palladino, the 67-year-old Welsh sideman who’s played with D’Angelo, Don Henley, and De La Soul, hooked his basslines around syncopated percussion and legato tones. Mills, a sought-after producer who’s worked with Beck, Fiona Apple, and Alabama Shakes, carefully inserted staccato guitar plucks between the gaps in rhythmic lines. Alongside a who’s who of contemporary jazz musicians, including saxophonist Sam Gendel and drummer Chris Dave, Palladino and Mills constructed wholly new shapes out of interlocking elements.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eThat Wasn’t a Dream\u003c\/em\u003e, they started with similarly complex arrangements but methodically disassembled them, leaving plenty of air between each sound. “If we could make something work with the least possible ingredients, space could become the centerpiece,” Palladino said in a statement. The result is a sparse, enchanting record where time passes circuitously and phrases brush against each other like branches in the wind.\u003c\/p\u003e\n\u003cp\u003eThe grooves on \u003cem\u003eNotes With Attachments\u003c\/em\u003e could be spiky and nonintuitive, locking deeper into place with each additional layer. Here, Palladino and Mills operate with more restraint, patiently allowing a pocket to develop from a small handful of notes. That often means spotlighting the drums for several bars, cyclical patterns settling like a topsheet wafted above a mattress. The first 10 seconds of “What Is Wrong With You” establish its lysergic lurch with a simple combination of quarter-note hi-hats and a gently swinging kick drum. Palladino’s four-note bassline leaves a wide margin between the downbeat and the end of each measure; Mills’ baritone guitar melody slithers into view, smearing the tune together like a gestural painting. Midway through “Taka,” a bubbling stew of electro-funk, the synth and bass drop out completely, leaving a drum-machine sequence and percussion that sounds like clinking wine glasses to churn in place unimpeded.\u003c\/p\u003e\n\u003cp\u003eA large part of the album’s magic comes from its textural palette. Closely recorded acoustic guitars sound like church bells; woodwinds resemble analog keyboards with the noise circuit cranked; human voices are mixed to the fore and kept dry, as if tracked in an anechoic chamber. Mills plays a fretless baritone sustainer guitar, which has an unclassifiable sound somewhere between a muted horn and a bowed bazantar. Gendel’s signature mutated saxophone makes a few appearances, but he also crafts wispy, barely there synth pads and an electronic wind controller patch that mimics a harp. Songs can quickly swing from organic to otherworldly, like on “Somnabulista,” where a third of the way through, a flute and vocal refrain gives way to the uncanny, CGI fusion you’d hear on a Mark Egan record. It’s bewitching; everything you’re hearing is familiar but just slightly off.\u003c\/p\u003e\n\u003cp\u003eThe centerpiece of\u003cem\u003e That Wasn’t a Dream\u003c\/em\u003e is the hallucinatory one-chord stunner “Heat Sink.” A chiming baritone figure reminiscent of Sam Wilkes’ more sentimental moments carries through its entirety, and a single splashy cymbal marks time, keeping each instrument on a loose tether as it explores the outer reaches. The band members (including Palladino’s son Rocco, also on bass) seem both locked in and completely independent, flickering around each other like atomic orbitals. Every few moments, distorted, overdriven melodies overlap and harmonize, resonant frequencies fusing into a softly glowing drone. “Heat Sink” is completely beguiling, a wall of sound that’s equally mesmerizing if admiring its towering totality or scrutinizing every exquisite detail. It feels both longer and shorter than its 14 minutes, a trick that Palladino and Mills pull off on every track on the album; each lyrical passage is an instruction manual for experiencing nonlinear time. \u003cem\u003eThat Wasn’t a Dream\u003c\/em\u003e is music as quantum theory, using the expanse between speakers to pass through dimensions. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/pino-palladino-blake-mills-that-wasnt-a-dream\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5pDATa5kjuLPlh1zALzCrl?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/f6s5JavYgE0?si=Jc1SoLml82Vhyx05\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!, New Deal Music \u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2025\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Modern\/Future Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Modern\/Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse! \/ New Deal","offers":[{"title":"Default Title","offer_id":46196935983262,"sku":"602478375873","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_910ca59f-b294-4ba8-bd7a-b63fb3e2b370.jpg?v=1763272536"},{"product_id":"john-coltrane-a-love-supreme-monophonic-edition","title":"John Coltrane - A Love Supreme (Monophonic Edition)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCelebrating the 60th anniversary of John Coltrane's masterpiece, \u003cem\u003eA Love Supreme\u003c\/em\u003e is presented in its mono mix for the first time in more than 50 years. Faithfully mastered from the original analog tapes by Ryan K. Smith, pressed on 180-gram vinyl at RTI and housed in a tip-on gatefold jacket.\u003c\/p\u003e\n\u003cp\u003eExperience the surprising impact of \u003cem\u003eA Love Supreme\u003c\/em\u003e in mono: immediate, intense, unforgettable. Featuring the classic quartet of pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, \u003cem\u003eA Love Supreme\u003c\/em\u003e is one of the most honest musical performances put to tape. Its beauty and appeal are timeless.\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe defining album of legendary American jazz saxophonist John Coltrane’s storied career,\u003cem\u003e A Love Supreme\u003c\/em\u003e emerged as a prayerful paragon that was beyond reproach. Structured as a through-composed suite in four parts and delivered in praise of God - this modal, post-bop masterpiece was the sound of Coltrane’s spiritual awakening, existing in an exalted plane that few (if any) albums made before or since have been able to touch.\u003c\/p\u003e\n\u003cp\u003eRecorded with Coltrane’s classic quartet - Elvin Jones, McCoy Tyner and Jimmy Garrison - \u003cem\u003eA Love Supreme\u003c\/em\u003e was not just technically experimental, it was emotionally and conceptually ambitious. From \"Acknowledgement\" to “Psalm”, Coltrane eloquently translated his personal journey from darkness to enlightenment through his chosen medium of free jazz. The result was a magnum opus of divine proportions. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eOne of the most important records ever made, John Coltrane's \u003cem\u003eA Love Supreme\u003c\/em\u003e was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. \u003c\/p\u003e\n\u003cp\u003eRecorded over two days in December 1964, Trane's classic quartet - Elvin Jones, McCoy Tyner, and Jimmy Garrison - stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. \u003c\/p\u003e\n\u003cp\u003e\"Acknowledgement\" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. \"Resolution\" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. \"Pursuance\" searches deeply for that experience, while \"Psalm\" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. \u003cem\u003eA Love Supreme\u003c\/em\u003e not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. \u003c\/p\u003e\n\u003cp\u003eClocking in at 33 minutes; \u003cem\u003eA Love Supreme\u003c\/em\u003e conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/a-love-supreme-mw0000187827\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis widely regarded as one of the greatest jazz albums of all time. Released in 1965, the album features Coltrane's quartet at the height of their creative powers, and is a testament to the saxophonist's spiritual and musical vision. The album is divided into four parts, each representing a different aspect of Coltrane's personal journey towards spiritual enlightenment.\u003c\/p\u003e\n\u003cp\u003eThe opening track, \"Acknowledgement,\" is a meditative piece that features Coltrane's iconic \"A Love Supreme\" chant. This is followed by \"Resolution,\" a high-energy piece that showcases Coltrane's virtuosic saxophone playing.\u003c\/p\u003e\n\u003cp\u003eThe third track, \"Pursuance,\" is a dynamic, fast-paced tune with intricate solos by each member of the quartet. The album concludes with \"Psalm,\" a reflective, hymn-like piece that features Coltrane's saxophone playing in a more subdued, spiritual mode. Throughout the album, Coltrane's playing is characterized by his signature \"sheets of sound\" technique, in which he plays rapid, complex runs of notes that seem to cascade and flow endlessly. The quartet's interplay is also exceptional, with each member contributing to the album's overall sense of improvisational freedom and musical unity. Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison together created one of the most thought-provoking albums of their relationship.\u003c\/p\u003e\n\u003cp\u003eLyrically, the album explores themes of spirituality, redemption, and the search for meaning in a chaotic world. The music is delivered with an intensity and sincerity that is palpable, making it a deeply moving and powerful listening experience. Overall,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a landmark album that showcases Coltrane's unparalleled musicianship and profound spiritual insight. It's a must-listen for jazz enthusiasts and anyone who appreciates music that speaks to the soul. — (via Label)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/3JRgE1OqN7A8wrYqFxDfJO?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Impulse!\u003cbr\u003eVinyl, LP, Album, Reissue, Mono, Gatefold, 180 Gram\u003cbr\u003eReissued: 2025 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Free Jazz, Hard Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":46340314628254,"sku":"602478371004","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_2d61e50b-313e-49e7-92f9-32b65b0a6d14.jpg?v=1766933431"}],"url":"https:\/\/theanalogvault.mom\/collections\/label-impulse.oembed","provider":"The Analog Vault","version":"1.0","type":"link"}